Guests Jennifer Lame, Mike Fay, Nick Ellsberg, and Tom Feligno discuss editing 'Oppenheimer'. Topics include organizing visuals based on themes, screening and organizing film formats, logistical challenges of shooting in New Mexico, efficiency in storytelling techniques, trusting instincts in the editing process, and assembling the editorial team.
Building tension through meticulous editing in the Trinity scene
Collaborative process with director Chris Nolan and open-mindedness towards new ideas
Organizational challenges and importance of music editing in handling different formats
Deep dives
Organization and Tension Building in Trinity Scene
In the podcast episode, Jennifer Lame, the editor of the film 'Oppenheimer,' discusses the process of building tension and organizing scenes, particularly focusing on the Trinity scene. The sequence involved carefully piecing together different elements, including music, to create a sense of tension and anticipation. The edit required meticulous attention to detail, ensuring that the scene flowed seamlessly and conveyed the desired emotions. Lame also explains how the decision to have a silent explosion in the Trinity scene was based on accuracy and realism, as the scientists who witnessed it did not hear the blast.
Collaboration Process with Chris Nolan
Lame describes her collaboration process with director Chris Nolan, highlighting his efficiency and focus on time management. They worked together on a daily basis, focusing on specific sections of the film each week. Their approach involved refining scenes, discussing characters, and watching sections of the film to ensure a smooth flow and cohesive storytelling. Lame mentions how much she appreciates Nolan's open-mindedness and willingness to consider new ideas, creating a collaborative and enjoyable working environment.
Organization Challenges and Format Considerations
The podcast also touches on the organizational challenges faced by the editing team, particularly in handling scenes shot in different formats, including 70mm 5-perf and IMAX 15-perf. The assistants worked closely to ensure the proper organization and syncing of footage, as well as conforming the film for screenings. They utilized color coding and layering techniques to keep the timelines and shots organized effectively. Additionally, the discussion highlights the importance of music editing and the role of the music editors in preparing for Friday screenings and conforming the film for the director's cut.
The Editing Process: Working Linearly, Assembling Scenes, and Organizing Footage
The podcast episode discusses the editing process of a film, highlighting the editor's approach to working linearly and assembling scenes. The editor started from the beginning of the script and worked their way through, familiarizing themselves with the footage and the timelines. Organizing the footage and breaking it up into scenes was crucial for understanding the script and the interconnectedness of the scenes. Despite initial nervousness about joining the project late, the linear approach proved helpful, allowing the editor to tackle the complex intercuts between different locations and characters. The importance of being familiar with every scene and the reasons behind the specific editing choices was emphasized.
Challenges, Deadlines, and the Intensity of the Editing Process
The podcast episode delves into the challenges faced during the editing process, including tight deadlines and the pressure of weekly screenings. The team had to manage a substantial film library, track optical extractions and visual effects shots, and ensure smooth transitions between cuts. The editors discussed the self-imposed deadlines that pushed them to perform and trust their instincts. The high stakes of the screenings and the technical challenges created an adrenaline rush, with a focus on efficiency and maintaining the film's integrity. The episode also highlighted the collaborative and supportive atmosphere among the team members, leading to a successful director's cut screening.
Today on Art of the Cut, Jennifer Lame, ACE, discusses editing Oppenheimer with some of the key members of her editing team: Additional Editor, Mike Fay, First Assistant editor (Avid) Nick Ellsberg, and First Assistant Editor (film), Tom Foligno.
Jennifer Lame was an early Art of the Cut guest when she edited Manchester By the Sea, for which she was nominated for a BAFTA and an ACE Eddie. She has since edited Hereditary, Marriage Story - also nominated for an ACE Eddie - Tenet, and Black Panther: Wakanda Forever.
Mike Fay was previously the Visual Effects editor on Bullet Train, John Wick 3, and Passengers, First Assistant Editor on Ghostbusters: Afterlife, and The Mountain Between Us, and editor on the feature film, A Shot through the Wall.
Nick Ellsberg was First assistant editor on Bullet Train, assistant editor on Ghostbusters: Afterlife, second assistant editor on John Wick 3, and editor on the feature film, Watch List.
Tom Faligno was nominated for an ACE Eddie for an episode of Curb Your Enthusiasm. He’s also edited the TV series Ballers, Altered Carbon and Dispatches from Elsewhere. He’s also cut features including All for Nikki and Sweet Lorraine. Later in the episode, you’ll hear his background included working on Martin Scorsese’s Casino, Kundun, and The Aviator as an assistant editor under Thelma Schoonmaker, ACE.
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